Fables of the Reconstruction is admittedly a strange album to review, as it is openly known as the band's least favorite from their catalogue. As the years have passed, however, it’s become apparent to critics and fans alike that some of R.E.M.'s best songs come from this odd album.
R.E.M. quickly became the most notable band in the newly formed college rock and "jangle pop" genres of the mid-'80s, alongside other Southern bands like The dB's and Let's Active. In fact, Mitch Easter of Let's Active produced R.E.M’s first two albums. For Fables, however, R.E.M. deliberately chose to break the mold they'd set with their previous studio works and recorded in London with noted folk producer Joe Boyd who had previously produced and shaped the sound of multiple Nick Drake albums and would also helm 10,000 Maniacs’ The Wishing Chair, which was released the same year as Fables.
Boyd's dark folk influence can be felt most strongly on "Driver 8" and "Maps & Legends." Lyricist Michael Stipe has been quoted as saying that R.E.M.'s early songs lyrically had no meaning, but the theme of Southern fables and characters can be detected throughout the album. Even a casual listener can note what era of R.E.M. they're listening to by observing guitarist Peter Buck and in these early years, it is easy to hear the influence of straight forward chords influenced by The Cure.
Fables is perhaps R.E.M's most depressing and dark album, which is a reflection of the time they spent recording in London. One cannot help but think they were also inspired by the tenor of 1984's UK hit songs such as The Smiths' "How Soon Is Now?" and Depeche Mode's "Everything Counts”
Courtney
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